"I Capuleti e i Montecchi I Capuleti e i Montecchi (""The Capulets and the Montagues"") is an Italian opera (""Tragedia lirica"") in two acts by Vincenzo Bellini. The libretto by Felice Romani was a reworking of the story of ""Romeo and Juliet"" for an opera by Nicola Vaccai called ""Giulietta e Romeo"" and based on the play of the same name by Luigi Scevola written in 1818, thus an Italian source rather than taken directly from William Shakespeare. Behind the libretto stand many Italian, ultimately Renaissance sources created by Matteo Bandello, and probably through their French translations by François de"
"thoroughly reworked nine melodies from his unsuccessful ""Zaira"" into ""I Capuleti e i Montecchi"": he explained that """"Zaira"", hissed at Parma, was avenged by ""I Capuleti"""". In addition, Giulietta’s """"Oh quante volte"""" in act 1 uses Nelly’s ""romanza"", """"Dopo l’oscuro nembo"""" from ""Adelson e Salvini"", written for Naples in 1825. At the premiere of ""I Capuleti e i Montecchi"" on 11 March 1830 success for Bellini returned. Weinstock describes the premiere as ""an unclouded and immediate success"" but it was only able to be performed eight times before the La Fenice season closed on 21 March. A local newspaper, ""I"
"composition. He succeeded by appropriating a large amount of music previously written for his unsuccessful opera ""Zaira"". The first performance of ""I Capuleti e i Montecchi"" took place on 11 March 1830. After ""Zaira"" Following the poor reception which ""Zaira"" received in Parma, Bellini returned to Milan by the end of June 1829 with no contract for another opera in sight. Giovanni Pacini, another Catanese composer, was still in Milan after the well-received premiere of his ""Il Talismano"", and he received offers to compose an opera for both Turin and Venice for the following Carnival season. He accepted both offers,"
"Salvini"". The Giulietta was to be sung by Rosalbina Caradori-Allan. At the premiere of ""I Capuleti e i Montecchi"" on 11 March 1830 success for Bellini returned. Weinstock describes the premiere as ""an unclouded and immediate success"" but it was only able to be performed eight times before the La Fenice season closed on 21 March. A local newspaper, ""I Teatri"", reported that ""all things considered, this opera by Bellini has aroused as much enthusiasm in Venice as ""La straniera"" aroused in Milan from the first evening on"". By this time, Bellini knew that he had achieved a degree of"
"mature works. Characteristically, Bellini was to re-use some of the music from this opera in later works, notably Nelly's Act 1 Romanza ""Dopo l'oscura nembo"" which became Giulietta's aria ""O quante volte"" in ""I Capuleti e i Montecchi"". Additionally, this was the only Bellini opera provided with ""recitativo secco"". Bellini greatly revised the opera for another production in 1829 and later revised it further. However, the first professional production was not given for over 100 years at the Teatro Metropolitan, in Bellini's home town of Catania, on 6 November 1985. Domenico De Meo further revised and edited the score of"
"of Napoleon's Italian officers, and Giovanna née Grassini. She came from a musically gifted family, her maternal aunt Giuseppina Grassini (1773–1850) being a favourite opera singer both on the continent and in London. Her older sister, Giuditta and her cousin Carlotta were both artistes, the former as a singer and the latter as a ballet dancer. Giuditta was the creator of the pants role of Romeo in Bellini's ""I Capuleti e i Montecchi"". Grisi was trained for a musical career, making her stage debut as Emma in Rossini's ""Zelmira"" in Bologna in 1828. Rossini and Bellini both took an interest"
"weak, although some numbers and the trio were liked. However, for the most part, the singers were applauded, even if the composer received little. The opera received eight performances, followed by some poorly-received ones in Florence in 1836, where the reviewer of the ""Gazzetta di Firenze"" notes that """"Zaira"" put in an appearance on stage, but that audience...shouted at her, and she returned to the harem"" and then it disappeared until 1976.Bellini later re-used substantial parts of the music of ""Zaira"" for his next opera ""I Capuleti e i Montecchi"", which received its premiere in March 1830. Except for the"
"will be staged at the Teatro Massimo Bellini in Catania in October. Other performances to be given include Fabio Biondi conducting his ensemble Europa Galante on period instruments at Teatro Flavio Vespasiano in Rieti. ""In this version of the story the Capuleti and Montecchi are rival political factions (Guelph and Ghibelline respectively) rather than Shakespeare's ""two households, both alike in dignity"". Capellio is the father of Giulietta (Juliet) and the leader of the Capuleti. Giulietta is betrothed to Tebaldo (Tybalt), however she has already met and fallen in love with Romeo, leader of the Montecchi (Montagues). This is a secret"
"theatrical house. In the meantime, the work slow down due to problems that have arisen between the municipality and the Galland company. In 1869 the municipality decided to name the building after Gioachino Rossini, but later this intention was dismissed. On 7 June 1874 the theatre was inaugurated with the opera ""I Capuleti e i Montecchi"" of Vincenzo Bellini. However, the building wasn't complete yet. During the following years the name of the building was simply ""Teatro Municipale Politeama"". In 1882 Giuseppe Garibaldi died and the theatre was named after him. Even though the covering had been made in 1877"
"Carlo Pepoli Count Carlo Pepoli (22 July 1796 – 7 December 1881) was an Italian politician and journalist. He was also acclaimed as a poet, his most well-known work being the libretto for Vincenzo Bellini's final opera, ""I puritani"" which was given its premiere in Paris in January 1835. Born in Bologna to the aristocratic Pepoli family, he was active in the movement opposing Austrian rule of Italy before being imprisoned and forced into exile in France after 1831. He spent a large portion of his adult life as an exile in both Paris, where he initially taught Italian. He"
"Arrighetto Arrighetto is an opera in one act by Carlo Coccia. The Italian-language libretto was by Angelo Anelli, after ""Madonna Beritola"", sixth tale of the second day of the ""Decameron"" by Giovanni Boccaccio. It premiered on 9 January 1813 at the Teatro San Moisè, Venice. The plot is inspired by the tale of Madonna Beritola, told by Emilia in the second day of the ""Decameron"" by Giovanni Boccaccio, with significant variations. In the tale, Giuffredi and Scacciato, the two sons of Arrighetto Capece, nobleman fallen into disfavour and arrested after the fall of the king of Sicily Manfredi, reach adventurously"
"in that city, especially as both ""Il pirata"" and ""I Capuleti e i Montecchi"" were to be given by the Théâtre-Italien that season. The offer from the Théâtre came in January 1834; he accepted because ""the pay was richer than what I had received in Italy up to then, though only by a little; then because of so magnificent a company; and finally so as to remain in Paris at others' expense."" Taking from April until its premiere the following January, Bellini had time to ensure that the opera was as close to perfection as possible. After the premiere, Bellini"
"Mercadante’s hands the more evocative ""Soirées italiennes"""". In addition, the Rossini set is supplemented by four settings of texts by Metastasio. Notes Cited sources Other sources Carlo Pepoli Count Carlo Pepoli (22 July 1796 – 7 December 1881) was an Italian politician and journalist. He was also acclaimed as a poet, his most well-known work being the libretto for Vincenzo Bellini's final opera, ""I puritani"" which was given its premiere in Paris in January 1835. Born in Bologna to the aristocratic Pepoli family, he was active in the movement opposing Austrian rule of Italy before being imprisoned and forced into"
"preparation of critical editions of Bellini's operas began in 1999 by Casa Ricordi working in collaboration with the Teatro Massimo Bellini in the composer's hometown of Catania. ""I Capuleti e i Montecchi"" was the first to appear under the imprint of the University of Chicago.""La sonnambula"" is also available from Chicago in an edition edited by musicologists Luca Zoppelli of the University of Friborg, Switzerland, and Alessandro Roccatagliati of the University of Ferrara, Italy, members of a group for the Ricordi project, which also includes Fabrizio Della Seta and Claudio Toscani, editor of ""Montecchi"". All of this cooperation has ""served"
"Theatre in New Orleans; later, first US performances were given in Boston on 13 May 1847 and in New York on 28 January 1848. ""I Capuleti"" was revived in 1935, the centenary of Bellini’s death, at Catania and it appeared in 1954 at Palermo, with Giulietta Simionato as Romeo and Rosanna Carteri as Giulietta. In 1958 it was broadcast live by RAI from Rome, conducted by Lorin Maazel, with Fiorenza Cossotto and Antonietta Pastori in the main roles. In 1966 Claudio Abbado prepared a version for La Scala in which Romeo was sung by a tenor, Giacomo Aragall; the cast"
"The song is quoting two works by the Italian opera composer Vincenzo Bellini: Ite su Colle, O Druidi from act 1 of ""Norma"", and the overture to ""I Capuleti e i Montecchi"". There is also a nursery rhyme that has the same title, with the first line of the refrain, from which the title is derived, also matches a couplet that appears in English as early as 1784 in a work entitled ""Gammer Gurton's Garland, or, The Nursery Parnassus"": I See the Moon ""I See the Moon"", is a popular song written by Meredith Willson. The Mariners, in the United"
"""Giulietta e Romeo"" and later as ""Historia novellamente ritrovata di due nobili amanti"" (""Newly retrieved story of two noble lovers""). These three stories, plus another later version by Matteo Bandello and the English translation by Arthur Brooke in the poem ""Tragicall Historye of Romeus and Juliet"" (1562) appear to be the sources for Shakespeare's famous play ""Romeo and Juliet"". Masuccio Salernitano Masuccio Salernitano (1410–1475), born Tommaso Guardati, was an Italian poet. Born in Salerno or Sorrento, he is best known today for ""Il Novellino"", a collection of 50 ""novelle"" or short stories, each prefaced by a letter of dedication to"
"is from Dante's ""Divine Comedy"", who mentions the Montecchi (""Montagues"") and the Cappelletti (""Capulets"") in canto six of Purgatorio: However, the reference is part of a polemic against the moral decay of Florence, Lombardy, and the Italian Peninsula as a whole; Dante, through his characters, chastises German King Albert I for neglecting his responsibilities towards Italy (""you who are negligent""), and successive popes for their encroachment from purely spiritual affairs, thus leading to a climate of incessant bickering and warfare between rival political parties in Lombardy. History records the name of the family ""Montague"" as being lent to such a"
"sooner had the opera house been rebuilt than a legal dispute broke out between the company managing it and the owners, the Venier family. The issue was decided in favor of the Veniers. At the beginning of the 19th century, La Fenice acquired a European reputation. Rossini mounted two major productions there: ""Tancredi"" in 1813 and ""Semiramide"" in 1823. Two of Bellini's operas were given their premieres there: ""I Capuleti e i Montecchi"" in March 1830 and ""Beatrice di Tenda"" in March 1833. Donizetti, fresh from his triumphs at La Scala in Milan and at the Teatro di San Carlo"
"This story was reworked in 1524 by Luigi da Porto as ""Giulietta e Romeo"" (published posthumously in 1531). Da Porto named the character Romeo Montecchi and his storyline is near-identical to Shakespeare's adaptation. Since no 16th-century direct English translation of ""Giulietta e Romeo"" is known, Shakespeare's main source is thought to be Arthur Brooke's English verse translation of a French translation of a 1554 adaptation by Matteo Bandello. Although both Salernitano and da Porto claimed that their stories had historical basis, there is little evidence that this is the case. Romeo, an only child like Juliet, is one of the"
"in 1589. The imposing Palazzo Pepoli Campogrande was commissioned in 1653 by the newly minted Senator Odoardo Pepoli; the architects were Giovanni Battista Alberoni and Giuseppe Antonio Torri. Today it houses the Baroque works once in the Pinacoteca Nazionale di Bologna. A later member of the family, conte Carlo Pepoli, wrote Vincenzo Bellini's libretto for ""I Puritani"" and provided the lyrics for Rossini's song ""La Danza"". To him Giacomo Leopardi dedicated one of his ""canti"". Napoleone Gioacchino Pepoli was a senator of the Kingdom of Italy, Mayor of Bologna, and Italian envoy to Russia. Moreover he was also a grand-nephew"
"fame: writing on 28 March, he stated that: Before leaving Venice, Bellini was offered a contract to produce another new opera for La Fenice for the 1830–31 Carnival season, and—upon his return to Milan after a reunion with Turina—he also found an offer from Genoa for a new opera but proposed for the same time period, an offer he was forced to reject. Later that year, Bellini prepared a version of ""Capuleti"" for La Scala which was given on 26 December, lowering Giulietta’s part for the mezzo-soprano Amalia Schütz Oldosi. Returning to Milan after the ""Capuleti"" performances, little occurred until"
"Paris on 11 September 1827, Lisbon in the autumn of 1828, London on 10 April 1832, and Mexico in July 1841. It was first performed in Graz (in a German translation by I. C. Kollmann) on 12 October 1833 and Budapest (also in Kollmann's translation) on 31 July 1845. On 27 October 1832, during a performance of Bellini's ""I Capuleti e i Montecchi"" in Bologna, the next to last scene of Vaccai's opera was substituted for the last act of the Bellini opera. This was done at the request of the Romeo, Maria Malibran, and became frequent practice during the"
"Giuditta Grisi Giuditta Grisi (28 July 1805 – 1 May 1840) was an Italian operatic mezzo-soprano, sister of soprano Giulia Grisi and cousin of ballerina Carlotta Grisi. She was born and studied in Milan, and made her debut in Vienna, as Faliero in ""Bianca e Faliero"", in 1826. She specialized in Rossini roles, which from 1827, she sang throughout Italy, also creating several roles in opera by composers such as Persiani, Coccia, Pacini, etc. Bellini wrote the role of Romeo in ""I Capuleti e i Montecchi"" for her in 1830. She appeared in London, and at the Théâtre-Italien in Paris,"
"a final cabaletta, the couple clings to each other. Then he dies and Giulietta, unable to live on without him, falls dead onto his body. The Capuleti and Montecchi rush in to discover the dead lovers, with Capellio demanding who is responsible: ""You, ruthless man"", they all proclaim. Musical borrowings Musicologist Mary Ann Smart has examined the issue of Bellini's ""borrowings"" and she notes: ""Bellini's famously scrupulous attitude to the matching of music and poetry did not prevent him from borrowing from himself almost as frequently as did the notoriously economical Handel and Rossini."" Specifically, in regard to ""I Capuleti"","
"by Francesco Malipiero in 1951, and by Bruno Maderna in 1968. Orfeo dolente Orfeo dolente (Orpheus inconsolable) is an opera by Domenico Belli to a libretto by Gabriello Chiabrera, an example of ""representative style"" of the early Baroque era. The work is divided into five interludes which were performed for the first time as intermedi in a performance of Torquato Tasso's play ""Aminta"" at the in Florence in 1616. Operas based on the Orpheus myths, and especially the story of his journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form, Monteverdi's"
"Fagotto’s imprimatur Bertolucci would now consent to him marrying his daughter. Caramello is furious and attacks Fagotto, and in the confusion Bacòlo loses his wig and the scheme is revealed. Bacòlo admits that he was the author of the letters received by Bertolucci from his idol. The marriage of Clorinda and Fabricio is agreed and Moschetta, impressed by Bacòlo’s work, agrees she will have him in the end. Il signor Fagotto Il signor Fagotto is a one-act opérette by Jacques Offenbach to a French libretto by Charles-Louis-Étienne Nuitter and Étienne Tréfeu, first performed in 1863. The story of a father"
"all Italy the birth of the examples of courage and value"" was censored in the Kingdom of Two Sicilies. Vincenzo Bellini was a secret member of the Carbonari and in his masterpiece ""I puritani (The Puritans)"", the last part of Act 2 is an allegory to Italian unification. Another Bellini opera, ""Norma"", was at the center of an unexpected standing ovation during its performance in Milan in 1859: while the chorus was performing ""Guerra, guerra! Le galliche selve (War, war! The Gallic forests)"" in Act 2, the Italians began to greet the chorus with loud applause and to yell the"
"Antonietta Marini-Rainieri Antonietta Marini-Rainieri was an Italian operatic soprano active during the first half of the 19th century. She was married to lauded operatic bass Ignazio Marini and often appeared on stage with him. In 1835 she portrayed Giulietta opposite Amalia Schütz Oldosi as Romeo in the Teatro Regio di Parma's first staging of Vincenzo Bellini's ""I Capuleti e i Montecchi"". At La Scala she portrayed roles in the world premieres of Giuseppe Verdi's first two operas: Leonora in ""Oberto"" (1839) and the Marchesa del Poggio in ""Un giorno di regno"" (1840). She also appeared at that house as the"
"""Cristoforo Sly"", ""Anima Allegra"" (based on the play ""El genio alegre"" by Serafín and Joaquín Álvarez Quintero), ""Two Little Wooden Shoes"" (""I due zoccoletti"") (a short story by Maria Louise Ramé, a.k.a. Ouida), the life of Marie Antoinette, Margherita da Cortona, and ""Conchita"" (based on the novel ""La Femme et le pantin"" – ""The Woman and the Puppet"", by Pierre Loüys). Some of these abandoned subjects were taken up and turned into operas by other composers. For example, Franco Vittadini made an opera of ""Anima Allegra"", Mascagni's opera ""Lodoletta"" is derived from ""Two Little Wooden Shoes"", and Riccardo Zandonai eventually"
"a positive review from only one critic, Mario Ferrigni. It nonetheless enjoyed an overwhelming popular success among theater-goers. The play was later turned into an operetta after receiving a musical score from composer Giuseppe Pietri: the Novelli-Pietro operetta premiered on 27 November 1920 in Rome. The numerous other productions born out of Novelli's fruitful association with the Alfieri included the premieres of ""Acqua passata"" (""Water Under the Bridge"") in 1908; ""Casa mia"" (""My House""), ""L'ascensione"" (""The Ascension""), and ""L'Ave Maria"" (""Ave Maria"") in 1909; ""Gallina vecchia"" (""The Old Hen"") in 1911; ""La Cupola"" (""The Cupola"") in 1913; and ""Canapone"" in"
"Norma (opera) Norma () is a ""tragedia lirica"" or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after the play ""Norma, ou L'infanticide"" (""Norma, or The Infanticide"") by Alexandre Soumet. It was first produced at La Scala in Milan on 26 December 1831. The opera is regarded as a leading example of the ""bel canto"" genre, and the soprano prayer ""Casta diva"" in Act I is a famous piece. Notable exponents of the title role in the post-war period have been Maria Callas, Joan Sutherland, Montserrat Caballé and, in the 2007 Biondi-Minasi critical edition based on"
"political party in Verona, but that of the ""Capulets"" as from a Cremonese family, both of whom play out their conflict in Lombardy as a whole rather than within the confines of Verona. Allied to rival political factions, the parties are grieving (""One lot already grieving"") because their endless warfare has led to the destruction of both parties, rather than a grief from the loss of their ill-fated offspring as the play sets forth, which appears to be a solely poetic creation within this context. The earliest known version of the ""Romeo and Juliet"" tale akin to Shakespeare's play is"